Something wicked this way comes to Javeenbah Theatre – where fair is foul and foul is fair; Macbeth, directed and adapted by Brooke Edwards, is a bold reimagining of a timeless tragedy – set against the glitz and grit of mid twentieth century Las Vegas. Drawing parallels between Macbeth’s unhinged ambition – and ultimate downfall – with the destructive nature of gambling addiction, this layered and lively retelling is certainly not Macbeth as you remember it from high school English class.
For the uninitiated, Macbeth follows the rise and fall of the titular character who – spurred by his wife and with the assurance of witches – commits regicide to ascend the Scottish throne. The misdeed unleashes paranoia and intense guilt – unravelling the nefarious plan and ultimately Macbeth himself – before order is restored by the rightful heir.
One of Shakespeare’s shorter plays, this edit is tight and well-paced, running at around two hours. The play’s three key roles – Macbeth, played by Ethan Hough, Lady Macbeth, played by Samantha O’Hare and Macduff, played by Rory Impellizzeri – would each be at home on a professional stage. There is great chemistry between Hough and O’Hare in their scenes, each bringing animated, well-developed characterisations and a great sense of familiarity and connection with each other. Hough is a charismatic Macbeth who naturally draws attention, and O’Hare a nuanced Lady Macbeth, at once fiend-like – yet fallible. As Macduff, Impellizerri is compelling – also making a haunting impression near the beginning of the play in the additional role of Soldier. The combat scene between Macbeth and Macduff is a highlight, bringing the play to a dramatic climax.
The remaining ensemble performs with confidence and credibility; As Malcom, Ben Walton grows in stature throughout the performance, showing nice moments of emotional connection. Rob Kenna brings presence and propriety as Duncan and Siward. Bryce Berrell and Sol Buckley show vibrance and versatility in their multiple roles (with special congratulations to Buckley for performing Shakespeare in her second language!) with Rhyll Tedeschi providing an interesting study, especially as the morally ambiguous Banquo. Faith Moore-Carter, Hannah Collins and Marina Pennisi are each capable and commanding in their respective roles.
The cast handle the primarily Brooklyn-esque accents well, but there are times when the diction of the Elizabethan language is lost a little in accommodating that feature. The sound and lighting are creative – I especially enjoy the scene of Duncan’s death, and Macbeth’s monologues, although occasionally sound levels overpower the dialogue. The costumes look wonderful, with Lady Macbeth especially glamourous, in addition to effective set design. I enjoy the creative and immersive ways the theatre is utilised, with action occurring all over the space, not just onstage.
As with all community plays, acknowledgement is due to the entire production team and other volunteers who make it all possible. The collective efforts shine through here – J’bah’s Macbeth is an engaging, modern reimaging, exploring timeless themes, drawing interesting parallels with a social scourge, and reminding us that all that glitters is not gold. Highly recommend.
To book tickets to Macbeth, please visit https://javeenbah.org.au/playbill/macbeth/.
Photographer: Buttery Smooth Images
